Second Wind in F

Second Wind in F

Second Wind in F: Rebeca Mauléon-Santana, as played by Tito Puente's mambo. Bebop Major and Major Pentatonic scales bring out the groove and energy of these changes. Chords: C13sus – B13sus – A#13sus – Bm7b5 – E7b9 – Am7 – D7alt – Gm7 – C#69 – D#69 – F69 – C13 – F6 – D#6 – F – F7 – Em7b5 – A7b9 – Dm7 – C#m7 – Cm7 – F13 – A#maj7 – D7b9 – B9 – C9 – Cm9 – Bm7 – F7#5 – F7#5b9 – B9#11 – A#maj9 – C7sus – C7 – Fmaj7 – B13.

Second Wind in F

F major is the gateway to barre chords. While F itself requires a full barre at fret 1, the remaining diatonic chords (C, Dm, Am, G, Bb) mix open and barre shapes. The open high E acts as Fmaj7's seventh, adding unexpected richness. F is a intermediate-level key on guitar because the open high E string is the major seventh of F, creating a lush Fmaj7 resonance even in basic shapes, but the F barre chord itself is the first big hurdle for beginners. This key mixes open and barre shapes, making it a good intermediate challenge that builds fretboard fluency.

Voice Leading

The bass line moves through C to B (descending half step), B to A# (descending half step), A# to B (ascending half step), B to E (ascending perfect fourth), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to G (ascending perfect fourth), G to C# (ascending tritone), C# to D# (ascending whole step), D# to F (ascending whole step), F to C (descending perfect fourth), C to F (ascending perfect fourth), F to D# (descending whole step), D# to F (ascending whole step), F to F (ascending unison), F to E (descending half step), E to A (ascending perfect fourth), A to D (ascending perfect fourth), D to C# (descending half step), C# to C (descending half step), C to F (ascending perfect fourth), F to A# (ascending perfect fourth), A# to D (ascending major third), D to B (descending minor third), B to C (ascending half step), C to C (ascending unison), C to B (descending half step), B to F (ascending tritone), F to F (ascending unison), F to B (ascending tritone), B to A# (descending half step), A# to C (ascending whole step), C to C (ascending unison), C to F (ascending perfect fourth), F to B (ascending tritone). A half-step bass movement creates a strong leading-tone pull that demands resolution. The predominantly stepwise bass motion creates smooth, connected voice leading. When the progression loops, the bass returns from B to C by half step.

Scales for Improvisation

F major pentatonic works because every note is either a chord tone or a safe passing tone — there are no avoid notes. For soloing, this means you can play freely without clashing. Over dominant seventh chords, F Mixolydian adds the flat seventh for an authentic blues-rock edge.